DOCSLIB.ORG

Penny Dreadful Season 1 Trading Cards Checklist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Penny Dreadful Season 1 Trading Cards Checklist Base set 01 Title Card 18 Ancient Symbols 02 Night Work Speak 03 Do Not Be 19 A New Man 33 I Need Blood! Amazed 20 Friends Well Met 34 A Night Out 04 Bodies and Blood 21 Ending of Things 35 From the Balcony 05 What We Fear 22 A Difficult Birth 36 Loving Lost Causes 06 Murder the World 23 Mankind’s Capacity 37 Be Someone Else 07 Beneath the Skin for Mercy 38 A Hero Returns 08 A Demimonde 24 Vanessa, Save Me 39 Beneath the 09 Dark Fortunes 25 I See Things Laughter Collide Sometimes 40 Meeting Their 10 Terrible Wonders 26 Wolves Among Us Gentlemen 11 Lovers and Lies 27 Find Me Some 41 Adventures and 12 My Transgression Chains Lies 13 Pierce the 28 Behind You in the 42 Loss of Self Ephemeral Veil Dark 43 The Worst Betrayal 14 Peel Back the 29 Brutalized with 44 Have You No Skin Loss Shame? 15 Mr. Gray Dazzles 30 Beautiful, Deadly, 45 Cruel Little Girl 16 When the Spirits Things 46 Something Inside Walked 31 Eaters of Flesh You 17 Possessed and 32 She Walks in 47 Echoes Already Damned Beauty Past TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) 48 Would You Like to 56 I Haven’t Been 64 Everyone Likes Have an Honest with You Oranges Adventure? 57 Demons Among Us 65 Winter Never Ends 49 Giving Away Your 58 Forgive Me, I Am 66 Not a Monkey Soul Not Myself 67 A Master’s Plan 50 My Young Friend 59 Let Me Die 68 Beyond All Hope 51 Let Life Divide 60 Together We Will 69 A Father’s Choice 52 Wear It For Me Topple God 70 Can We Start 53 Tremors Around Us 61 A Favor Over? 54 You Give Away 62 I Believe in 71 She Is Mine Nothing Everything 72 Checklist 55 The Dead Move 63 A Shred of Fast Decency A Demimonde A New Man Brutalized with Loss TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) CHARACTER chase cards (1:4 packs) C1 Group C6 Brona Croft C2 Vanessa Ives C7 Dr. Victor Frankenstein C3 Sir Malcolm Murray C8 Sembene C4 Ethan Chandler C9 The Creature C5 Dorian Gray Vanessa Ives Dorian Gray Sembene TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) QUOTABLE chase cards (1:4 packs) Q1 Group Q6 Brona Croft Q2 Vanessa Ives Q7 Dr. Victor Frankenstein Q3 Sir Malcolm Murray Q8 Sembene Q4 Ethan Chandler Q9 The Creature Q5 Dorian Gray Sir Malcolm Murray Brona Croft Dr. Victor Frankenstein TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) ETCHING chase cards (1:4 packs) E1 Vanessa Ives E5 Brona Croft E2 Sir Malcolm Murray E6 Dr. Victor Frankenstein E3 Ethan Chandler E7 Sembene E4 Dorian Gray E8 The Creature Sir Malcolm Murray Dr. Victor Frankenstein Creature TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) TAROT chase cards (1:32 packs) 0 The Fool III The Empress VI The Lovers I The Magician IV The Emperor VII The Chariot II The High Priestess V The Hierophant VIII Strength The Fool The Empress The Hierophant TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) AUTOGRAPH cards (1:24 packs) AP Alex Price NO Nathan O’Toole DS Danny Sapani NS Noni Stapleton HG Henry Goodman OC Oliver Cotton HT Harry Treadaway RC Reeve Carney HTO Hannah Tointon RK Rory Kinnear JM Joseph Millson RN Robert Nairne MF Michael James Ford SRB Simon Russell Beale Reeve Carney as Dorian Gray Robert Nairne as Vampire TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) WARDROBE cards (1:24 packs) W01 Eva Green as Vanessa Ives W02 Josh Hartnett as Ethan Chandler W03 Timothy Dalton as Sir Malcolm Murray W04 Harry Treadaway as Dr. Victor Frankenstein W05 Olly Alexander as Fenton W06 Eva Green as Vanessa Ives W07 Reeve Carney as Dorian Gray W08 Josh Hartnett as Ethan Chandler W09 Danny Sapani as Sembene W10 Olly Alexander as Fenton W11 Eva Green as Vanessa Ives W12 Josh Hartnett as Ethan Chandler W13 Olivia Llewellyn as Mina Harker W14 Alun Armstrong as Vincent Brand W15 Eva Green as Vanessa Ives W16 Reeve Carney as Dorian Gray W17 Harry Treadaway as Dr. Victor Frankenstein W18 Timothy Dalton as Sir Malcolm Murray W19 Eva Green as Vanessa Ives TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) Josh Hartnett as Ethan Chandler Danny Sapani as Sembene Eva Green as Vanessa Ives Reeve Carney as Dorian Gray TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) QUINTUPLE WARDROBE card (limited to 25 cards) 5W Timothy Dalton as Sir Malcolm Murray Reeve Carney as Dorian Gray Eva Green as Vanessa Ives Harry Treadaway as Dr. Victor Frankenstein Josh Hartnett as Ethan Chandler Timothy Dalton as Sir Malcolm Murray Reeve Carney as Dorian Gray Eva Green as Vanessa Ives Harry Treadaway as Dr. Victor Frankenstein Josh Hartnett as Ethan Chandler TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) PROP cards (1:48 packs) M01 VANESSA IVES’ TAROT CARD M02 “VARNEY THE VAMPIRE” PENNY DREADFUL M03 GRAND GUIGNOL TICKET M04 NEWSPAPER M05 SIR MALCOLM MURRAY’S MAP M06 VANESSA IVES’ LETTER TO MINA M07 “THE TRANSFORMED BEAST” PLAYBILL M08 POLICE EVIDENCE M09 PHOTOGRAPH OF MINA AND PETER M10 DORIAN GRAY’S DRAPERY M11 NEWSPAPER M12 VANESSA IVE’S ENVELOPE FOR MINA M13 PHOTOGRAPH OF HIEROGLYPHICS M14 NEWSPAPER M15 DR. VICTOR FRANKENSTEIN’S ANATOMY BOOK (BINDER EXCLUSIVE) TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) GRAND GUIGNOL TICKET DR. VICTOR FRANKENSTEIN’S ANATOMY BOOK PRINTING PLATES (1:96 packs) SILVER FOIL BOARD variant of Base, Character, Quotable, and Etching cards (1:5 packs) TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) HAND-DRAWN SKETCH cards (1:344 packs) Chris Meeks Matthew Hansen Melike Acar Jeremy Treece Mark Bloodworth Soni Alcorn-Hender Tirso Llaneta Matthew Hansen Melike Acar Soni Alcorn-Hender The Magician The Emperor The Lovers TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) PROMO CARDS IX - XXI - Non-Sport Update Magazine AUG/SEP 2015 XX - XXI - Multiple US comic conventions, Summer 2015 P1 - NSCC, July 2015 RATIOS Autograph (1:24 packs) and Wardrobe (1:24 packs) cards are randomly inserted, and ratios are representative of the entire print run. Total chance of finding a special insert is approximately 2:24 packs. No guaranteed number of special inserts per box. Packs containing insert cards may contain fewer than the stated number of cards per pack. TM & © 2015 Showtime Networks Inc. All Rights Reserved. Cryptozoic logo is a trademark of Cryptozoic Entertainment. All Rights Reserved. (s15) .
Load more

Recommended publications
  • Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent Into Ennui in John Logan’S TV Series Penny Dreadful
    doi: 10.17605/OSF.IO/H4YBT “Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent into Ennui in John Logan’s TV Series Penny Dreadful Dr. Richard Logsdon, Professor Emeritus, College of Southern Nevada Abstract ennui that has its counterpart in our own culture. The suggestion is that Logan uses While scholars have provided some Vanessa Ives as a symbolic representation of insight into Penny Dreadful, no one has a dying world view, which, somewhat addressed the relationship of the piece’s ironically, provided for her remaining overall design to the writer’s vision. Indeed, friends a hope that sustained them. Penny Dreadful is offered as a warning of a darker age to come. Accordingly, writer 1. Introduction: Old or New Gothic? John Logan sets his series in a late Victorian, Gothicized London that serves as Since the release of Francis Ford a microcosm for a contemporary Western Coppola’s Dracula in 1992, Gothic horror world experiencing a psychological and films that gave the traditional depiction of spiritual disintegration that touches the the Prince of Vampires have been replaced individual and the larger culture. Logan calls by tamer, even more domesticated versions attention to the anxieties generated by this of Bram Stoker’s monster (Hutchings 40- disintegration by incorporating into his 48). Indeed, in the world of cinema and TV, series characters from late Victorian Gothic the past two or three decades have seen a fiction: Frankenstein and his creature, movement away from the traditional Gothic Dracula, the Wolf Man, Dorian Gray, and horror with its dark and haunted landscapes, Dr.
    [Show full text]
  • Wail of an Ebbing Tide © 2016 Xena Torres
    Wail of an Ebbing Tide © 2016 Xena Torres www.bitchofrome.com/pennydreadful Penny Dreadful is the copyright property of Showtime and Sky. It was created by John Logan and produced by Desert Wolf Productions and Neal Street Productions. This fan fiction story has been written for entertainment purposes only out of love for the show and out of respect to my fellow Dreadfuls. Dedicated to Eva Green for the gift of Vanessa Ives & my fellow Dreadfuls AUTHOR’S NOTE This story rewrites the ending of the final episode of Penny Dreadful, “The Blessed Dark,” from the moment Ethan enters the white bricked room with Vanessa. It is then divided into six parts (“episodes”) in which I attempt to conclude the series, wrapping up loose threads and plot points that I think most Dreadfuls would agree were left unresolved at the end of the series. Please note that I am not someone who is against tragic end- ings, nor do I think endings have to be sunshine and rainbows, where none of the characters die and they all go off to live perfect lives. I do, however, think endings to series need to give viewers closure and have to bring the characters to a point where we can accept they will live on without us watching. For my ending, I fol- lowed the threads already presented on the show. I also used the books Penny Dreadful drew from, directly and indirectly, while other parts were completely my own. Dr. Jekyll does not appear in this novel. While his story was disappointing, I felt it was as concluded as it could be without start- ing a new thread and this fan fiction is an attempt to conclude the show, not the first part of a virtual series.
    [Show full text]
  • Universidade Federal Da Paraíba Centro De Ciências Humanas, Letras E Artes Programa De Pós-Graduação Em Letras Espelhos E
    UNIVERSIDADE FEDERAL DA PARAÍBA CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN AURICÉLIO SOARES FERNANDES JOÃO PESSOA - PB ABRIL DE 2020 AURICÉLIO SOARES FERNANDES ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN Tese submetida ao Programa de Pós- Graduação em Letras, da Universidade Federal da Paraíba, como pré-requisito para a obtenção do título de Doutor em Letras. Orientador: Prof. Dr. Luiz Antonio Mousinho Magalhães Área de Concentração: Literatura, Cultura e Tradução Linha de Pesquisa: Tradução e Cultura JOÃO PESSOA - PB ABRIL DE 2020 ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN FERNANDES, Auricélio Soares. Espelhos e retratos de Dorian Gray em Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan________ fls. Tese. (Doutorado em Letras) – Universidade Federal da Paraíba, João Pessoa, 2020. BANCA EXAMINADORA ____________________________________________________ Prof. Dr. Luiz Antonio Mousinho Magalhães – UFPB Orientador ____________________________________________________ Profª. Drª Laura Loguercio Cánepa – Universidade Anhembi Morumbi (Examinadora externa) ____________________________________________________
    [Show full text]
  • 'Penny Dreadful' (2014-)
    Des penny dreadfuls à ’Penny Dreadful’ (2014-) : hybridité générique et fantaisie néo-victorienne Xavier Giudicelli To cite this version: Xavier Giudicelli. Des penny dreadfuls à ’Penny Dreadful’ (2014-) : hybridité générique et fantaisie néo-victorienne. Françoise Heitz; Emmanuel Le Vagueresse. La fantaisie dans les arts visuels, ÉPURE - Éditions et Presses universitaires de Reims, pp.15-35, 2015, 9782915271973. hal-02521021 HAL Id: hal-02521021 https://hal.univ-reims.fr/hal-02521021 Submitted on 27 Mar 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Des penny dreadfuls à Penny Dreadful (2014-) : hybridité générique et fantaisie néo- victorienne Xavier Giudicelli Université de Reims Champagne-Ardenne CIRLEP (EA 4299) She is the daughter of too many fathers. She is a victim of heredity. Her bones lack strength, her flesh lacks vitality, her blood is polluted. 1 I myself, with the aid of imagination […] have ventriloquised, have lent my voice to, and mixt my life with, those past voices and lives whose ressuscitation in our own lives as warnings, as examples, as the life of the past persisting in us, is the business of every thinking man and woman.2 La fantaisie implique les idées de jeu avec les normes et les codes esthétiques, d ’hybridité et de transgression des limites et des hiérarchies.
    [Show full text]
  • Penny Dreadful's Queer Orientalism
    humanities Article Penny Dreadful’s Queer Orientalism: The Translations of Ferdinand Lyle Jamil Mustafa Department of English Studies, Lewis University, Romeoville, IL 60446, USA; [email protected] Received: 8 August 2020; Accepted: 3 September 2020; Published: 9 September 2020 Abstract: Cultural expressions of Orientalism, the Gothic, and the queer are rarely studied together, though they share uncanny features including spectrality, doubling, and the return of the repressed. An ideal means of investigating these common aspects is neo-Victorian translation, which is likewise uncanny. The neo-Victorian Gothic cable television series Penny Dreadful, set mostly in fin-de-siècle London, employs the character Ferdinand Lyle, a closeted queer Egyptologist and linguist, to depict translation as both interpretation and transformation, thereby simultaneously replicating and challenging late-Victorian attitudes toward queerness and Orientalism. Keywords: Gothic; neo-Victorianism; Orientalism; Penny Dreadful; queerness; the uncanny 1. Queerness, Orientalism, and the Gothic in Penny Dreadful Orientalism, neo-Victorianism, the Gothic, the queer, and the uncanny coalesce in Penny Dreadful (2014–2016), a cable television series set mostly in 1891 and 1892 London whose title references the nineteenth-century “penny dreadfuls,” mass-market, one-penny serials that featured mysterious tales of “violence, torture, blood and gore” (Killeen 2012, p. 46). This title, which portrays Penny Dreadful as a contemporary intermedial adaptation of cheap Victorian
    [Show full text]
  • Penny Dreadful: Entre Los Mitos Y El Terror Penny
    PENNY DREADFUL: ENTRE LOS MITOS Y EL TERROR PENNY DREADFUL: BETWEEN MYTHS AND HORROR Mónica Viviana Fanny Gruber ([email protected]) Universidad de Buenos Aires – Universidad Tecnológica Nacional - Universidad de Palermo 212. - - 205 Resumen Una de las mayores preocupaciones del mundo contemporáneo gira en torno al cuerpo. El hedonismo es una de las facetas constitutivas del mundo del consumo. Cuerpos perfectos, diferentes, posthumanos, se transforman en objetos simbólicos y nos interpelan. Si en los años 50 el cine era el rey innegable del entretenimiento, en la era de la “pantalla global” (Lipovetsky y Serroy, 2009), las pantallas se ha multiplicado: cine, televisión, tablets y smatphones, producen y reproducen la realidad. Es así como los temas y géneros parecen diversificarse en la oferta serial. No es de extrañar, pues, la necesidad de ofrecer una renovación constante, por lo cual abrevar en el mito constituye, muchas veces, una posible solución. El presente trabajo se propone analizar los moldes míticos que atraviesan la serie televisiva: Penny Dreadful (2014-2016), creada por John Logan. Esta coproducción británico-estadounidense ha explorado el vampirismo, lo demoníaco, la licantropía, la vida artificial y la eterna juventud. ¿Por qué triunfa una serie de ficción cuyo entramado narrativo parece alejarse de nuestro presente? ¿No será que acaso la resemantización propuesta va en consonancia con nuestras actuales inquietudes: la violencia, la juventud, el sexo y el cuerpo? Intentaremos pues, reflexionar en esta dirección. Palabras claves: ciencia ficción; mito; licantropía; vampirismo; vida artificial Abstract Vol. 4, 9, N° agosto 2545-6024,2019, ISSN: Argentina, pp. One of the contemporary world main concerns is set around the human body.
    [Show full text]
  • Grant Details Event Details Impact
    The ANU Gender Institute Grant Report: Russell Smith 2018 Grant details I was involved in organizing an international conference to mark the 200th anniversary of the publication of Mary Shelley’s Frankenstein. The conference, Frankenstein 2018: Two Hundred Years of Monsters, took place at the National Film and Sound Archive from 12-15 September 2018, with the generous support of the Humanities Research Centre; the School of Literature, Languages and Linguistics in CASS; and the ANU Gender Institute. One of our four main themes of the conference was gender, sexuality, reproduction and the work of care’. We sought funding from the ANU Gender Institute to support travel for a keynote speaker we had invited to address this theme, Prof. Julie Carlson, of the English Department at the University of California, Santa Barbara. Event details Prof. Julie Carlson received her Ph.D. from the University of Chicago in 1985, and is the author of England's First Family of Writers: Mary Wollstonecraft, William Godwin, Mary Shelley, In the Theatre of Romanticism: Coleridge, Nationalism, Women; guest editor of Domestic/Tragedy (South Atlantic Quarterly) and various articles on romantic drama and theatre. Her keynote lecture was titled “Just Friends”: Frankenstein and the Friend to Come? It began with a finely-grained analysis of the use of the word ‘friend’ in Frankenstein, mapping these readings against an illuminating exposition of the contemporary meanings of this term in Romantic era discourse, in particular the political significance of the term in radical politics and philosophy (‘friends of liberty’, etc.). Noting how Frankenstein’s monster has frequently been read as a spokesperson for marginalized and oppressed populations, she read the monster’s refusal of the discourse of friendship against the radical black critique of the rhetoric of friendship in US political rhetoric.
    [Show full text]
  • 19Th Century Revisited Adaptations and Appropriations
    Organizadoras Camila Figueiredo Miriam Vieira 19th Century Revisited adaptations and appropriations FALE/UFMG Belo Horizonte 2018 Diretora da Faculdade de Letras Graciela Inés Ravetti de Gómez Vice-Diretora Sueli Maria Coelho Coordenadora Emília Mendes Comissão editorial Elisa Amorim Vieira Emília Mendes Fábio Bonfim Duarte Luis Alberto Brandão Maria Cândida Trindade Costa de Seabra Sônia Queiroz Capa e projeto gráfico Glória Campos (Mangá Ilustração e Design Gráfico) Preparação de originais Giulia Leroy Diagramação Deborah Gomes Revisão de provas Bruna Honório Katryn Rocha ISBN 978-85-7758-353-9 (digital) 978-85-7758-352-2 (impresso) Endereço para correspondência LABED – Laboratório de Edição – FALE/UFMG Av. Antônio Carlos, 6.627 – sala 3108 31270-901 – Belo Horizonte/MG Tel.: (31) 3409-6072 e-mail: [email protected] site: www.letras.ufmg.br/vivavoz Table of Contents 5 Foreword Miriam Vieira 9 Introduction: Some Theoretical Models for Adaptation Studies Camila Augusta Pires de Figueiredo 17 Survival over time: the persistence of Frankenstein in media Áurea Regina Ramos de Souza 27 Showtime’s Penny Dreadful: a Frankenstein type of plot production Gabriela França 35 Art in Dorian Gray and Phantom of the Paradise Gabriela Silva 49 The Physical and Psychological Adaptations of Count Dracula in Francis Ford Coppola’s Bram Stoker’s Dracula (1992) and Cole Haddon’s TV show Dracula (2013) Geovanna Vitorino Silva Gonçalves 63 Intermedial Holmes: A Study in Pink or in Scarlet? Luísa Machado Osório Pereira 71 Romanticizing Abuse: An Intermedial
    [Show full text]
  • Penny Dreadful (S2 E2) - Why Go There!?
    Seawolf's Den Seek the Wolf in Thyself! http://seawolfsden.net Penny Dreadful (S2 E2) - Why go there!? Author : Ron McClung Categories : Horror Date : July 22, 2015 OK, I struggle with this every time I see it. I write off a movie if it contains any hint of it. I hate to see it any where it is used as a trope. It should NOT be a trope at all. What is it? The on-screen or implied killing of a baby or child. Why?? I have been watching Penny Dreadful (Showtime series) since it came out, on XBMC/KODI since it started. It is a cross between League of Extraordinary Gentlemen and Van Helsing. Very dark and brooding Victorian age show dealing with all the classic monsters – Vampires, Werewolves, Frankenstein’s monster and a little Dorian Gray throne in. The first season was phenomenal. I could not get enough of the series. The second season as really started out good, bringing witches into the story. They have some top notch actors and the story is compelling. Characters include… Dorian Gray – immortal human who seems to be only in the show periodically to bring in more sexual stuff, because raunchy sex in the 1890s is hot, apparently. Sir Malcolm Murray – Father to Mina Murray/Harker (from the Bran Stoker’s Dracula), adventurer and Quatermain-type character. Ironically played by Timothy Dalton (who also played James Bond, like Sean Connery who played Quatermain in League of Extraordinary Gentlemen – the movie that killed his career.) Vanessa Ives – Played by the much exalted (and HOT) Eva Green, I guess her last role in the 300 sequel knocked her down to TV roles.
    [Show full text]
  • María Lourdes Cortés • Camilo Retana Editores Locos Por Las Series
    María Lourdes Cortés • Camilo Retana Editores Locos por las series María Lourdes Cortés • Camilo Retana Editores 2021 791.45 C828L Cortés, María Lourdes Locos por las series / María Lourdes Cortés y Camilo Retana, editores ; autores María Lourdes Cortés [y otros doce]. – Primera edición. – San José, Costa Rica : Editorial UCR, 2021. xv, 218 páginas. ISBN 978-9968-46-893-0 1. SERIES DE TELEVISIÓN. 2. SERIES DE TELEVISIÓN – TEMAS, MOTIVOS. 3. SERIES DE TELEVISIÓN – ASPECTOS SOCIALES. I. Cortés, María Lourdes, editora. II. Retana, Camilo, editor. III. Título. CIP/3555 CC.SIBDI.UCR Edición aprobada por la Comisión Editorial de la Universidad de Costa Rica. Primera edición: 2021. Editorial UCR es miembro del Sistema Editorial Universitario Centroamericano (SEDUCA), perteneciente al Consejo Superior Universitario Centroamericano (CSUCA). Corrección filológica: Pamela Bolaños A. • Revisión de pruebas: Euclides Hernández P. Diseño de contenido: Abraham Ugarte S. • Diagramación: Daniela Hernández C. Diseño de portada: Boris Valverde G. • Imagen de portada: Lo que se ve, 2019. Collage digital, 8,5 x 11 in, Andrea Bravo. • Control de calidad: Raquel Fernández C. © Editorial de la Universidad de Costa Rica, Ciudad Universitaria Rodrigo Facio. San José, Costa Rica. Prohibida la reproducción total o parcial. Todos los derechos reservados. Hecho el depósito de ley. Impreso bajo demanda en la Sección de Impresión del SIEDIN. Fecha de aparición: enero, 2021. Universidad de Costa Rica. Ciudad Universitaria Rodrigo Facio. San José, Costa Rica. Apdo.: 11501-2060 • Tel.: 2511 5310 • Fax: 2511 5257 • [email protected] • www.editorial.ucr.ac.cr CONTENIDO TRÁILER: PRESENTACIÓN MÍNIMA PARA UNAS REFLEXIONES EN SERIE. ix METÁFORAS DEL PRESENTE.
    [Show full text]
  • Penny Dreadful: Um Pastiche Gótico Penny Dreadful: a Gothic Pastiche
    Penny Dreadful: um pastiche gótico Penny Dreadful: a gothic pastiche Auricélio Soares Fernandes1 Luiz Antonio Mousinho Magalhães2 Resumo: A série de TV Penny Dreadful (2014-2016) investe sua carga dramática em nuances que beiram o horror gore, suspense, ação e terror psicológico. À nossa compreensão, esse seriado é um pastiche dos romances góticos do século XIX, dos penny dreadfuls e de outras tradições poéticas da literatura inglesa. Nesse artigo, nos propomos discutir como essa série se apropria dessa tradição literária, principalmente no tocante à construção dos personagens. Palavras-chave: Penny Dreadful; pastiche; personagens; gótico do século XIX. Abstract: The TV series Penny Dreadful (2014-2016) invests its dramatic content in nuances that border the horror gore, suspense, action and psychological terror. To our understanding, Penny Dreadful is a pastiche of nineteenth-century gothic novels, penny dreadfuls and other poetic traditions of English literature. In this article, we propose to discuss how that series appropriates of gothic literature especially in relation to the construction of the characters. Keywords: Penny Dreadful; pastiche; characters; 19th century gothic novels O século XIX assistiu à ascensão da burguesia e ao florescimento do romance como a forma literária mais popular entre os leitores, diferente do século XVIII, quando “o romance estava mais próximo capacidade aquisitiva dos novos leitores da classe média do que muitas formas de literatura e erudição estabelecidas e respeitáveis” (WATT, 2007, p. 40). Entretanto, no século XVIII existiam outras formas alternativas de leitura. Publicações como folhetins, jornais, panfletos e “folhetos contendo novelas cavalheirescas resumidas, novas histórias de crimes ou relatos de acontecimentos extraordinários por preços populares que variavam de um penny a seis pence (WATT, 2007), tornaram-se conhecidos do público leitor na Inglaterra do século XVIII e XIX.
    [Show full text]
  • Frankenfiction: Monstrous Adaptations and Gothic Histories in Twenty -First -Century Remix Culture
    Frankenfiction: Monstrous Adaptations and Gothic Histories in Twenty -First -Century Remix Culture Doctor of Philos ophy in English Literatur e, 2017 Megen de Bruin -Molé School of English, Communication and Philosophy Cardiff University ii Thesis Summary In the twenty -first century, the remix, the mashup, and the reboot have come to dominate Western popular culture . Consumed by popular audiences on an unprecedented scale , but often derided by critics and academics, these texts are the ‘monsters ’ of our age —hybrid creations that lurk at the limits of responsible consumption and acceptable appropriation . Like monsters , they offer audiences the thrill of transgression in a safe and familiar format , mainstreaming the sel f- reflexive irony and cultural iconoclasm of postmodern art . Like other popular texts before them, remixes, mashups, and reboots are often read by critics as a sign of the artistic and moral degeneration of contemporary culture. This is especially true within the institutions such remixes seem to attack most directly : the heritage industry , high art, adaptation studies, and copyright law. With this context in mind, in this thesis I explore the boundaries and connections betwee n remix culture and its ‘ot hers ’ (adaptation, parody, the Gothic, Romanticism, postmodernism ), asking how strong or tenuous they are in practice. I do so by examining remix culture ’s most ‘monstrous ’ texts: Frankenfic tion s, or commercial narrative s that insert fantastical monsters (zomb ies, vampires, werewolves, etc.) into classic literature and popular historical contexts. Frankenfiction is monstrous not only because of the fantastical monsters it contains, but because of its place at the margins of both remix and more established modes of appropriation .
    [Show full text]